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File 159009366532.png - (1.12MB , 2304x900 , industry_report.png )
34360 No. 34360 [Edit]
There's a neat annual report from the Association of Japanese animators that summarizes marketshare and revenues of the anime industry
https://aja.gr.jp/download/anime_ind_rpt2019_summary_en

The report itself is in English so it's worth skimming. There's lots of neat information there such as the geographic distribution of animation studios, geographic breakdown of overseas markets, and top sources of music royalty. What's interesting is that – unless I'm misinterpreting – overseas markets are actually substantial chunk of the entire revenue stream, which runs contrary to what I'd assumed. Although it's possible that this is due to how the categories are defined; I think if you limit yourself to TV and then compare foreign vs domestic the latter would dominate revenue-wise.
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>> No. 34361 [Edit]
>>34360
I remember reading some post on NHK that foreign profits in anime surpassed 1 billion, which seems to be what that graph states as well. If I remember correctly, most of that revenue is from streaming services.
Probably most of that is from Netflix or Crunchyroll. I'd imagine that just means they're getting the money to pump out more bad translations/shows than anything that affects the industry as a whole, although the creeping threat of total artistic restriction loom over everything these days.
Could also be from stuff like Dragon Ball Z. I really am curious to see where the huge 'profit' comes from, and where it's going to.
>> No. 34362 [Edit]
File 159011096390.png - (1.70MB , 1746x1468 , distribution.png )
34362
Here are some interesting snippets.

>One thing for sure is that quality deterioration, which was seen in 2016, was not found in 2018 despite the significant increase [in minutes of TV animations]. There was no case that all the production was left to overseas subcontracts while a certain level of quality was maintained (although there were some cases in which broadcasting was postponed). It seems the only way to judge whether there is further space for growth of the production minutes or not is to watch the trend from 2018 closely.

> But there is a risk that China will detach itself from Japanese animation. Chinese creators, including the director of Ne Zha, were born in the 80s and were deeply influenced by Japanese manga, anime, and games. Now it seems those creators have already mastered their own expression methods and fully absorbed Japanese cultures. It is questioned whether China, with such talented creators, still needs to collaborate with Japan. We will keep an eye on the trends from now on.

>There was a further increase of new works and a decrease of continuous works –  It can be said TV animations are on a declining trend since continuous kids/family animations during the daytime decreased despite the increase of one-shot adult animation series broadcast in. late-night slots. The number of original animations produced only for VOD services such as Netflix are not included in this survey. The trend would be more prominent if such original animations, in which a large part are targeted toward young adults, are included in TV animations.

>Animation distribution via the Internet: The Internet distribution market size which recorded 59.5 billion yen in 2018 (110.2% over the previous year) overtook the Videogram market (58.7 billion) [note: Videograms are basically phyiscal distribution media, e.g. Bluray/DVD. I had not previously come across this term before] for the first time in the last 16 years since the survey on Internet Distribution started. However, the market expected as a replacement for Videogram seems to lack momentum after the diffusion of smartphones slowed down.
> On the whole, hardcore anime fans are reducing their spending on Videogram due to the availability of other alternatives
>... the market shifted from real products to digital products. The animation-related smartphone game market is stimated to be 400 billion yen or more.

Apparently the animation industry isn't immune to the 5G hype:
>With the countdown to the dissemination of 5G phones, Internet distribution industries are expanding their businesses while Disney and Warner launched global services, entering the VOD services now almost fully occupied by Netflix. Such circumstances would raise expectations for growing demands toward Japanese animations.

U.S., Canada, and China (in that order) license the most works. The rapid growth in past years was supported by bulk-buying by Chinese consumers; however, they became reluctant with concern over the impact of the regulations against media content that the Chinese government announced in 2018 would also apply to Internet contents. The loss in the Chinese market was covered by the stable growth of VOD, growing demands for Japanese animations in North America with expectation for 5G [again with the 5G hype?], and expanding overseas sales of smartphone games related to animations. As a result, the size of the overseas market increased slightly.

>>34361
>Could also be from stuff like Dragon Ball Z. I really am curious to see where the huge 'profit' comes from, and where it's going to.
While they don't have those precise figures, they do include "Top 10 animation works in overseas music royalties" which might be a good enough proxy. Indeed, the top 5 are DBZ, Pokemon, and UFO Robo, Tears, Naruto. But I think this is cumulative over time since it also includes Sailor Moon and Pac-Man BGM.
>> No. 34363 [Edit]
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34363
>>34362
>But there is a risk that China will detach itself from Japanese animation... those creators have already mastered their own expression methods and fully absorbed Japanese cultures
Ugh, just from their example you know that's not true. What do they mean by "fully absorbed"? There's no chance in hell that's happening.
>> No. 34364 [Edit]
>>34363
Chinese manga has become quite large(western Manga sites frequently see them in the top 10 for popularity) so they could refer to that in regards to Chinese creators. I have not read one so I don't know how much it has absorbed from Japanese media.
>> No. 34365 [Edit]
>>34363
Certainly far from "mastered" but at least better than the current state of western animation. I don't know how much of this is "absorbed" (seems to be some sort of variant of Shokugeki and other food shows, except with an isekai twist?)
https://www.youtube.com/watch?v=bh1_RuOyT78
>> No. 34366 [Edit]
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34366
>>34365
I noticed that pretty much every setting is either modern day or medieval fantasy. There's also a lack of any "high-concept" stories in their manhua. The horror and psychological genres also seem to be missing. Oh, and no ecchi. All of that only exists in China in the form of imports I think.
>> No. 34367 [Edit]
>>34365
>but at least [it's] better than the current state of western animation.
Which is a very low bar to clear.

>>34366
So they're imitating the things that make money? Fabulous.
>> No. 34368 [Edit]
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34368
>>34365
I certainly notice some stylistic differences, some I like, some I don't like. Pic related. I don't like those marks on her face but maybe I'm just not used to the style and that's why I don't like it. The other thing would be simply the sound of the Chinese language being less pleasant than Japanese to my ears, but again that could just be me or because it's what I'm used to. Besides that, it seems very professional and watchable. I wouldn't be against watching a Chinese anime or reading a Chinese manga all the way through if it was recommended to me.(What the hell is this subtitle even supposed to mean though?)
>>34366
>I noticed that pretty much every setting is either modern day or medieval fantasy.
that's basically all anime
>> No. 34369 [Edit]
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34369
>>34368
It's not in the exact-same style, but "///" for blushing happens in anime too. And google-translate seems to give "《丹徒县志》果然没有骗我" as "'Dantuxian County' did not lie to me" which is at least intelligible.

>>34366
>Oh, and no ecchi
It's interesting that Azur Lane (which I have not watched and honestly don't know much about) seems to be quite risqué despite being based on a Chinese gacha game if I understand correctly. Perhaps since the production and target audience wasn't Chinese they didn't censor it as heavily. I don't know how far the restrictions on ecchi go – are there risqué dialog and Kirara-esque yuritease in Chinese manga?

Post edited on 22nd May 2020, 2:02pm
>> No. 34370 [Edit]
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34370
>>34367
>So they're imitating the things that make money? Fabulous.
Is this sarcasm?
>>34368
>that's basically all anime
Made in abyss, Hellsing, A Lull in the Sea, nearly every single sci-fi, anything that takes place in the past, but not that far back, all "urban fantasy" where it's modern day, but with fantastical stuff so it's very abnormal, which includes a million things.
>>34369
>are there risqué dialog and Kirara-esque yuritease in Chinese manga?
I wouldn't know, but I would guess not. You also have to distinguish between what was published in Hong Kong, the main land, and Taiwan plus when it was published.
>> No. 34371 [Edit]
>>34366
It's a new industry so it makes sense, they are going to start off with predominately Chinese topics like Kung Fu style things and Esports. I don't mind the setting itself, it could be interesting(the Kung Fu one that is).
>> No. 34372 [Edit]
>>34371
New industries are usually more experimental in normal societies, and then fall into those kinds of trends.
>> No. 34373 [Edit]
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34373
>>34360
Does that overseas market include merchandise and streaming? I thought revenue from streaming was not that large...

And who makes up the majority of that overseas market share? From my guess it just has to be the Chinese and the worst Koreans. Both of those groups are huge weebs.
>> No. 34374 [Edit]
>>34373
Overseas is defined as "overseas Japanese animation revenues (movies, TV, videogram, MD, etc.). So yes I think the "in a broad sense" chart includes merchandise as well as revenue from character-branded gacha-games. There's also a second chart for trends in a "limited sense" which focuses more strictly on revenue to animation studios (e.g. the "merchandising" category for the "broad sense" is defined as "domestic animation-related merchandise revenue" whereas the "limited sense" is defined as "a total of distributions (read: royalties?) receivable by studios in connection with rights licensed for merchandising, promotions, and events").

But even here overseas revenue is still a substantial chunk. It can't just be streaming because even in 2002 overseas revenue is on the same order magnitude as domestic TV revenue. Maybe it's just the fact that "overseas" has everything rolled into one. If you were to separate that category further by TV revenue vs merchandise vs others I think it'd probably show that overseas streaming revenue was dwarfed by others.

Breakdown by overseas markets shows US, Canada, and China largest in terms of number contracts for licensing. I don't know how this translates revenue-wise.

Post edited on 22nd May 2020, 8:25pm
>> No. 34375 [Edit]
>>34370
>Is this sarcasm?
Indeed I am.
>> No. 34378 [Edit]
>>34374
Makes sense. So does that mean things like gacha and merchandise are still more profitable than streaming by a large margin?

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